Denton Corker Marshall – Dezeenhttps://www.dezeen.com
architecture and design magazineSat, 10 Dec 2016 00:00:00 +0000en-UShourly1https://wordpress.org/?v=4.6.1Denton Corker Marshall completes "expressive yet dignified" Australian Embassy in Jakartahttps://www.dezeen.com/2016/07/02/jakarta-australian-embassy-architecture-denton-corker-marshall/
https://www.dezeen.com/2016/07/02/jakarta-australian-embassy-architecture-denton-corker-marshall/#commentsSat, 02 Jul 2016 20:00:38 +0000http://admin.dezeen.com/?p=925382Denton Corker Marshall has built the new Australian Embassy in Jakarta, adding an assortment of metals mined in Australia and acoustic panels decorated with national landmarks (+ slideshow). The Australian firm aimed to create an "expressive yet dignified" representation of the nation's character for the complex, which is Australia's largest diplomatic post. To achieve this, the firm chose to use diverse shapes

]]>Denton Corker Marshall has built the new Australian Embassy in Jakarta, adding an assortment of metals mined in Australia and acoustic panels decorated with national landmarks (+ slideshow).

The Australian firm aimed to create an "expressive yet dignified" representation of the nation's character for the complex, which is Australia's largest diplomatic post.

To achieve this, the firm chose to use diverse shapes and materials to clearly express the different functions of each structure.

"The architectural design of the new Australian Embassy compound offers a multiplicity of expressions, drawing together into a unified and cohesive whole to represent the cultural diversity of Australia," said Denton Corker Marshall.

The embassy is located close to the centre of Indonesian capital. It comprises a chancery building, a residence for the Head of Mission, 32 staff accommodation units, and medical and recreational facilities.

The largest and most important building is the chancery, which contains the offices of the Department of Foreign Affairs and Trade, as well as 13 other government departments and agencies.

This building's form consists of 12 interconnected rectilinear volumes. Together, they create a solid mass intended to evoke well-known Australian landforms such as Uluru – also known as Ayers Rock – and Kata Tjuta.

Each volume is clad in a metal mined in Australia to reflect the country's wealth of natural resources.

The claddings include zinc, aluminium, copper, brass and steel, and the panels feature debossed patterns that add a layer of textural interest to the otherwise homogenous surfaces.

"The form of the chancery is uncomplicated, direct but at the same time powerful and memorable," said the architects.

"It is unequivocal and confident. It doesn't look superficially 'Australia' but relies on a more subtle reading of the Australian character."

Internally, the forms and materials used aim to complement the exterior. A central courtyard covered with a transparent roof allows daylight to enter the surrounding blocks through irregularly arranged windows.

Panels of Australian wood add a sense of warmth to the material palette, and also feature perforated patterns that aid acoustics.

These depict abstract scenes of iconic Australian landmarks, including the Bungle Bungle landforms and the Twelve Apostles rock stacks.

Positioned next to the chancery, the Head of Mission residence is a two-storey building formed of interlocking blocks, which create staggered facades defined by varying patterns of light and shade.

The residence's entry forecourt features a large reflecting pool at its centre.

A minimal pergola that will gradually be covered by a canopy of creepers follows the paths that extend along the edges of the pool.

The forecourt and pool are intended to provide a relaxed yet formal welcome to the property, which also has a swimming pool and outdoor terrace on the first floor.

Beyond the Head of Mission residence, the staff accommodation is arranged in two rows with multicoloured facades that step in and out to add articulation to the frontages and give each house its own identity.

A garden area between the rows of accommodation provides a secure outdoor space for residents that is enclosed at either end by the walls of the Head of Mission residence and a recreation centre.

Denton Corker Marshall has an office in Jakarta, as well as Melbourne, London and Manchester.

]]>https://www.dezeen.com/2016/07/02/jakarta-australian-embassy-architecture-denton-corker-marshall/feed/9Denton Corker Marshall's "mysterious black box" is Australia's new Venice biennale pavilionhttps://www.dezeen.com/2015/04/14/denton-corker-marshall-mysterious-black-box-australia-new-venice-biennale-pavilion-giardini/
https://www.dezeen.com/2015/04/14/denton-corker-marshall-mysterious-black-box-australia-new-venice-biennale-pavilion-giardini/#commentsTue, 14 Apr 2015 12:25:38 +0000http://admin.dezeen.com/?p=679768Architecture firm Denton Corker Marshall has unveiled the new pavilion Australia will now use for its exhibitions – an austere black box looming over a canal (+ slideshow). Denton Corker Marshall was granted the rare privilege of adding a new pavilion to the Giardini, one of the main venues of the art and architecture biennales, to replace

]]>Architecture firm Denton Corker Marshall has unveiled the new pavilion Australia will now use for its exhibitions – an austere black box looming over a canal (+ slideshow).

Denton Corker Marshall was granted the rare privilege of adding a new pavilion to the Giardini, one of the main venues of the art and architecture biennales, to replace the temporary structure that Australia has been using since 1988.

As the first 21st-century structure to be built in the park – which also includes pavilions by Carlo Scarpa, Gerrit Rietveld and Alvar Aalto – the Australian Pavilion's form was designed to be as simple as possible. The architects describe it as a "white box within a black box".

"Our idea for the new Pavilion of Australia was to create a simple yet powerful pavilion – a distinct presence within the Giardini della Biennale, yet sensitive to the historic gardens and surrounding pavilions," explained the Melbourne-based architects.

"We also wanted to create a pure, timeless sculptural object that could exude both subtlety and confidence within the context of the Giardini," they said.

"Thus, we designed a white box within a black box, carefully positioned on the site to ensure minimal impact on the existing landscape."

Large slabs of black granite give the building its dark exterior. Some panels fold open to reveal the clean white interior and allow some natural light inside.

The aim of these protruding panels is to allow the building to take on a new appearance when an exhibition is taking place.

"By allowing the opening of the panels, this otherwise solid, singular object is able to change character, chameleon-like, as the exhibitions themselves change within – closed and mysterious, open and visually accessible, or extroverted and colourful," said Denton Corker Marshall.

"In designing the pavilion as a sculptural object or, a box inside a box, we envision it as a container, transporting it from Australia to Venice," added the architects. "We like the idea of a mysterious black box that opens up to reveal its contents particularly in the context of the Giardini, which closes during the winter months and reopens in the spring."

The building's entrance is approached via a steel ramp that arrives onto a concrete terrace overlooking the Rio dei Giardini canal. Glazed doors lead through into the first-floor exhibition space – an all-white space with a simple square plan.

"In the interest of both artists and visitors, we were determined not to cross the line of architectural expression by competing with display content," said the architects.

"The white box interior is a pure rectilinear space of an almost perfectly square proportion. It is the largest single volume that the site allows, thus providing maximum exhibition flexibility."

The lower storey contains office space, storage areas and a loading bay. This floor is only half the size of the one above, allowing the building to cantilever out over the canal.

With the 2015 Venice Art Biennale kicking off next month, the pavilion's inaugural exhibition will be an immersive multi-sensory installation by photographer and sculptor Fiona Hall.

The artist described it as "a minefield of madness, badness, and sadness in equal measure". It opens in May.

]]>https://www.dezeen.com/2015/04/14/denton-corker-marshall-mysterious-black-box-australia-new-venice-biennale-pavilion-giardini/feed/6Binary code patterns exterior of Sydney engineering faculty by Denton Corker Marshallhttps://www.dezeen.com/2014/07/25/engineering-faculty-university-of-technology-sydney-denton-corker-marshall/
https://www.dezeen.com/2014/07/25/engineering-faculty-university-of-technology-sydney-denton-corker-marshall/#commentsFri, 25 Jul 2014 21:00:38 +0000http://admin.dezeen.com/?p=504485Thousands of tiny ones and zeros pierce the aluminium skin of Denton Corker Marshall's new engineering faculty for the University of Technology in Sydney, spelling out the name of the building in binary code (+ slideshow). The Faculty of Engineering and Information Technology is the first and largest of three new buildings underway at the

]]>Thousands of tiny ones and zeros pierce the aluminium skin of Denton Corker Marshall's new engineering faculty for the University of Technology in Sydney, spelling out the name of the building in binary code (+ slideshow).

The Faculty of Engineering and Information Technology is the first and largest of three new buildings underway at the university's city campus, just south of Sydney's Central Business District, as part of a 10-year masterplan.

The entire 14-storey-high building is wrapped in four large aluminium plates. Tilted and skewed, these surfaces feature vertical creases and slices designed to create the impression of gills, "symbolically allowing the building to breathe".

The panels were also perforated using a binary code pattern that spells out the name University of Technology Sydney Faculty of Engineering and Information Technology, and allow light to penetrate the interior.

"The building is expressed as a singular sculptural object, setting it apart from the more traditional architectural expression of its neighbours and from proposed towers opposite the site," said Denton Corker Marshall.

Spaces inside the building – including laboratories dedicated to robotics, computer science and human-centred design, as well as a state-of-the art 3D-data visualisation studio known as the Data Arena – are organised around a grand top-lit atrium.

The atrium is finished with materials that include exposed concrete and Corten steel, intended to offer a warehouse-like aesthetic, and is dotted with informal lounges and study spaces.

]]>https://www.dezeen.com/2014/07/25/engineering-faculty-university-of-technology-sydney-denton-corker-marshall/feed/4Stonehenge Visitor Centre by Denton Corker Marshall opens tomorrowhttps://www.dezeen.com/2013/12/17/stonehenge-visitor-centre-by-denton-corker-marshall-opens-tomorrow/
https://www.dezeen.com/2013/12/17/stonehenge-visitor-centre-by-denton-corker-marshall-opens-tomorrow/#commentsTue, 17 Dec 2013 12:07:03 +0000http://admin.dezeen.com/?p=399367News: here are the first photographs of Denton Corker Marshall's visitor centre at Stonehenge - a prehistoric stone circle in England - which finally opens to the public tomorrow (+ slideshow). After years of negotiations and a string of failed proposals, Denton Corker Marshall's Stonehenge Visitor Centre is now complete on a site 1.5 miles west of the

The building comprises three enclosures, all finished with different materials, which are sheltered beneath a undulating steel canopy and surrounded by a forest of over 200 angular steel columns.

The largest block is clad with sweet chestnut wood and houses the museum's exhibition gallery. Another features glass walls and houses an education centre, cafe and shop, while a smaller zinc-clad structure is sandwiched between and functions as a ticket office.

The underside of the steel canopy is clad with zinc panels and features an elaborate pattern of square-shaped perforations. It oversails all three blocks, creating sheltered seating areas around the perimeters.

"The design of the centre is based on the idea that it is a prelude to the stones, and its architectural form and character should in no way diminish their visual impact, sense of timeless strength and powerful sculptural composition," said Denton Corker Marshall's Barrie Marshall.

"Where the stones are exposed, massive and purposefully positioned, the centre is sheltered, lightweight and informal. And where the stones seem embedded into the earth, the centre rests on its surface," he added.

Visitors can walk from the centre to the monument via a winding pathway, or can choose to take a ten-minute shuttle ride.

Denton Corker Marshall’s new Stonehenge Visitor Centre opens its doors on 18th December, inviting more than one million visitors every year to experience the transformed ancient site.

Located 1.5 miles to the west of the stone circle at Airman’s Corner, just within the World Heritage Site but out of sight of the monument, the new visitor centre is designed with a light touch on the landscape - a low key building sensitive to its environment.

Sited within the rolling landforms of Salisbury Plain, the design consists of a subtle group of simple enclosures resting on a limestone platform, all sheltered by a fine, perforated, undulating canopy.

Barrie Marshall, director at Denton Corker Marshall, said: "The design of the centre is based on the idea that it is a prelude to the stones, and its architectural form and character should in no way diminish their visual impact, sense of timeless strength and powerful sculptural composition. Where the stones are exposed, massive and purposefully positioned, the centre is sheltered, lightweight and informal. And where the stones seem embedded into the earth, the centre rests on its surface."

Three pods, finished in different materials, provide the principal accommodation. The largest, clad in sweet chestnut timber, houses the museum displays and service facilities. The second largest, clad in glass, houses the educational base, a stylish café and retail facilities. Located between these is the third, by far the smallest and clad in zinc, which provides ticketing and guide facilities.

Oversailing them all, and resting on 211 irregularly placed sloping columns, is a steel canopy clad on the underside with zinc metal panels and shaped with a complex geometry reflecting the local landforms.

Local, recyclable and renewable materials have been used wherever possible. The material palette includes locally grown sweet chestnut timber cladding and Salisbury limestone.

Stephen Quinlan, partner at Denton Corker Marshall, said: "Various strategies have been adopted in the design to ensure that the centre is environmentally sensitive and uses natural resources in a responsible way. These range from the natural sun shading qualities of the canopy which promotes natural ventilation and reduces the need for cooling in the pods, through to more technical solutions such as heat pumps and high efficiency insulation."

The new building allows Stonehenge to have dedicated facilities on site for education and interpretation for the first time, with museum-quality exhibits that tell the story of the 5,000 year- old monument.

From the new centre, visitors can either walk to the monument or take a ten-minute shuttle ride. During the trip the henge emerges slowly over the horizon to the East.

Dr Simon Thurley, chief executive of English Heritage, said: "For too long, people's appreciation of Stonehenge is this mysterious, impressive but anonymous monument. The Neolithic period itself is pretty much a murky expanse of time, shrouded by many outdated notions. We want people to come here and take away a fresh view."

There will also be an outdoor gallery including the reconstruction of three early Neolithic houses, based on rare forensic evidence found near Stonehenge. These houses will be built by skilled volunteers and are due to be complete by Easter 2014.

Sustainable Design

The building is sensitively designed to sit lightly in the landscape. Reversibility – the ability to return the site to its current state - was a fundamental design concept. The building will last as long as it needs to but could, if necessary, be removed leaving little permanent impact on the landscape.

Site plan - click for larger image

This is achieved by constructing it on a concrete raft which in turn sits on an area of 'fill' with minimal cutting into the soil. The modern construction, using slender steel columns and lightweight framed walls, and semi-external spaces allow the depth of foundations to be minimised.

West elevation - click for larger image

Other green features include:

» An open loop ground source heating system that pumps underground water through a unit to extract/inject heat energy. This enables the building to be heated and provides some cooling without the need for fossil fuels.

» Fully insulated cavity walls - the timber pod is constructed of structurally insulated panels (SIPS), which enables efficiencies in construction whilst minimising material waste and ensuring the building is well insulated.

North elevation - click for larger image

» Mixed mode ventilation – the building will be naturally ventilated whenever external conditions allow, switching to an efficient mechanical ventilation system that enables the heat energy in the exhaust air to be 'recovered' and transferred to the supply air, thereby reducing the load on the heating plant and saving energy.

East elevation - click for larger image

» "Grey water", including rainwater collected from the roof of the building, will be used for the bulk of water required at the visitor centre, e.g. for flushing toilets. Other water – e.g. for drinking - will be drawn from the aquifer, a local and renewable resource.

» The facilities will use on-site water treatment for sustainability and to avoid intrusive trenching for connections to water and sewer mains.

]]>https://www.dezeen.com/2013/12/17/stonehenge-visitor-centre-by-denton-corker-marshall-opens-tomorrow/feed/26View Hill House by Denton Corker Marshallhttps://www.dezeen.com/2012/07/23/view-hill-house-by-denton-corker-marshall/
https://www.dezeen.com/2012/07/23/view-hill-house-by-denton-corker-marshall/#commentsMon, 23 Jul 2012 05:00:56 +0000http://admin.dezeen.com/?p=229808One storey hangs precariously over the other at this isolated hilltop house in Australia by architects Denton Corker Marshall. The dramatic cantilever defines the silhouette of View Hill House, which looks out over the Yarra Valley winemaking region of Victoria. The exterior of the lower storey is clad in pre-rusted steel and the upper storey has walls of black

The Yarra Valley was originally settled as a series of farms strung out along the tracks through the valley on either side of the river. Yering Station and Gulf Station, for example, still exist as heritage buildings, but View Hill is identifiable only as an isolated hill abutting the historic Yarra Track with magnificent views of the whole valley.

The 60-hectare site was progressively developed as a premium cool climate vineyard from 1996 to 2004 and now has around 32 hectares of vines. A site for a house was identified at the top of the hill looking north over the vineyard but also taking in view all around.

Click above for larger image

Denton Corker Marshall have completed six houses over the last 20 years, a sideline to their larger building work but seen as an important part of their exploration of ideas about architecture. There were also opportunities to consider the isolated building in the landscape as ‘land art’. Here on the top of the hill the house is reduced to two sticks placed one on top of the other ‘dropped’ onto the landscape. It is a counterpoint to their Phillip Island house of 20 years ago where the house is buried in the sand dunes.

The stick sitting on the ground is made of rusting steel whilst the stick sitting on right angles on top and cantilevering impossibly is made from black aluminium. The sticks read as very thin metal tubes with glass inset at each end. The reading of the tubes is reinforced inside by their lining with a grey green stained OSB board – on the upper level its walls, ceilings and even the floor is lined – at ground level the floor is charcoal polished concrete. The ground level tube is 6m x 4m in cross-section so that the ceiling heights are 3.2m, the upper tube is 4m x 3m with 2.4m ceilings.

Click above for larger image

Ground floor uses are centred around a living, dining, kitchen space – with bedrooms at either end. Upstairs two offices and another guest bedroom complete the primary spaces. Planning is therefore very simple – presenting controlled views out from each end of the tubes and then by raising three panels on the side of the lower tube so that the living area looks out over the vineyard. The mountains containing the valley on all sides offer a dramatic backdrop.